Gluck: Alceste

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Almost all critics of Gluck's two versions of Alceste – the Italian original, first given in Vienna in 1767, and the French revision or recomposition given in Paris in 1776 – regard the latter... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 8660066-68
Label: Naxos
Series: Opera Classics
Length: 2 hours 26 minutes

Usually despatched in 3 - 4 working days

Gluck: Alceste

Work length2:26:17

$82.00

$106.60

Teresa Ringholz (soprano), Justin Lavender (tenor), Jonas Degerfeldt (tenor), Miriam Treichl (soprano), Lars Martinsson (baritone), Adam Giertz (treble), Emelie Clausen (treble), Mattias Nilsson (baritone), Johan Lilja (bass)
Drottningholm Theatre Chorus, Drottningholm Theatre
Arnold Östman

Intrada

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Act I Scene I: Recitativo - Popoli che dolenti

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Act I Scene I: Coro - Ah, di questo afflitto regno

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Act I Scene I: Aria di Pantomima

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Act I Scene I: Recitativo - Amorosi vassilli

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Act I Scene I: Coro - Ah, di questo afflitto regno

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Act I Scene I: Recitativo - Tacete

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Act I Scene II: Coro - Missero Admeto

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Act I Scene II: Recitativo - Popoli di Tessaglia

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Act I Scene II: Aria e Duetto - Io non chiedo, eterni Dei

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Act I Scene II: Coro - Miseri figli!

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Act I Scene II: Recitativo - Non si perda, o miei fidi

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Act I Scene II: Coro - Ah, di questo afflitto regno

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Act I Scene III: Ballo (Moderato)

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Act I Scene III: Gran sacerdote e coro - Dilegua il nero turgbine

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Act I Scene III: Recitativo - A te, Nume del Giorno

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Act I Scene III: Coro - Dilegua il nero turbine

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Act I Scene III: Recitativo - Sospendete, oh ministri

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Act I Scene IV: Ballo (Moderato)

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Act I Scene IV: Recitativo - Nume, eterno, immortal

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Act I Scene IV: Coro - Dilegua il nero turbine

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Act I Scene IV: Recitativo - I tuoi prieghi, oh regina

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Act I Scene IV: Oracolo - Il re morra

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Act I Scene IV: Coro - Che annunzio funesto... Fuggiamo

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Act I Scene V: Recitativo - Ove son, che ascoltai?

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Act I Scene V: Aria - Ombre, larve, compagne di morte

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Act I Scene VI: Recitativo - Ah, t'affretta, oh regina

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Act I Scene VII: Coro - E non s'offerse alcuno?

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Act I Scene VII: Coro - Chi serve e chi regna

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Act II Scene I: Recitativo - Ferma. Perche abbandoni

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Act II Scene I: Aria - Parto, ma senti!

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Act II Scene II: Recititavo - Parti, sola restai

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Act II Scene II: Aria - Chi mi parla?

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Act II Scene II: Coro e Recitativo - E vuoi morire, oh misera

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Act II Scene II: Aria - Dunque vieni

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Act II Scene II: Recitativo - Uditemi, fermate!

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Act II Scene II: Aria - Non vi turbate, no

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Act II Scene II: Pantomima de' Numi infernali

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Act II Scene III: Coro - Dal lieto soggiorno

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Act II Scene III: Ballo

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Act II Scene III: Aria - Or che morte il suo furore

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Act II Scene III: Ballo

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Act II Scene III: Coro - Dal lieto soggiorno

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Act II Scene IV: Recitativo - Signor, mai piu sincero

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Act II Scene V: Recitativo - Adorata consorte

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Act II Scene V: Duetto - Ah perche con quelle lagrime

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Act II Scene V: Recitativo - Consorte! Alceste!

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Act II Scene V: Aria - No, crudel, non posso vivere

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Act II Scene VI: Recitativo - Oh tenerezza! oh amore!

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Act II Scene VI: Coro - Oh, come rapida

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Act II Scene VI: Recitativo - E il cor non mi si spezza!

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Act II Scene VI: Coro - Cosi bella! Cosi giovane!

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Act II Scene VI: Aria - Vesta, tu che fosti

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Act II Scene VI: Coro - Oh, come rapida

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Act II Scene VI: Aria - Oh casto, oh caro nuzial mio letto

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Act II Scene VI: Coro - Cosi bella, cosi giovane!

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Act II Scene VI: Recitativo - Regina, ecco i tuoi figli

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Act II Scene VI: Duetto - Ah mia diletta madre

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Act II Scene VI: Recitativo - Figli, diletti figli!

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Act II Scene VI: Aria - Ah, per questo

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Act II Scene VI: Coro - Oh, come rapida

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Act III Scene I: Recitativo - Ah mio fido!

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Act III Scene I: Aria - Misero! E che faro!

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Act III Scene I: Recitativo - No, si atroce costanza

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Act III Scene II: Recitativo - Sposo, Admeto, idol mio!

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Act III Scene II: Duetto - Cari figli

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Act III Scene II: Terzetto - Ma qual suono di voci tremende

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Act III Scene II: Coro - Vieni Alceste

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Act III Scene II: Recitativo e Coro - Ahime! Chi mi riscuote!

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Act III Scene III: Sinfonia

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Act III Scene III: Recitativo - Mori?... Non vive piu?

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Act III Scene III: Coro - Piangi, oh patria

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Act III Scene III: Solo - Alceste e morta!

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Act III Scene III: Coro - Piangi, oh patria

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Act III Scene III: Solo - Morte trionfa

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Act III Scene III: Coro - Piangi, oh patria

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Act III Scene III: Duetto - Ogni virtu piu bella

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Act III Scene III: Coro - Piangi, oh patria

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Act III Scene IV: Recitativo - Lasciatemi, crudeli

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Act III Scena ultima: Sinfonia

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Act III Scena ultima: Recitativo - Ameto, in cielo ancora

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Act III Scena ultima: Coro - Regna a noi con lieta sorte

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Reviews
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Reviews

2010

Almost all critics of Gluck's two versions of Alceste – the Italian original, first given in Vienna in 1767, and the French revision or recomposition given in Paris in 1776 – regard the latter as superior: musically richer, more flexible, dramatically more persuasive, deeper in its treatment of the emotions and the humanity of the two central characters. But this performance of the Italian version treats the 1767 text on its own terms. Like the original Orfeo, the original Alceste is an opera pared down, in accordance with Gluck's and his librettist Calzabigi's reform principles, to deal with just a single issue: it's concerned exclusively with Alceste's sacrifice of her life to save that of her husband, Admeto, King of Thessaly, and the emotions that each of them and those around them feel. The performance is deftly paced and transparent in its textures.
There's no portentousness about Östman's direction, and the Drottningholm orchestra ensures that the detail of accompanying textures is clearly heard, playing gently and lightly in the dances.
Teresa Ringholz has a voice of modest dimensions, which she uses in a natural way, with little vibrato, firm, surely tuned, clear and well focused. She catches Alceste's increasingly passionate determination, at the close of Act 1, as her resolution to die to save her husband hardens, with its magnificent climax in 'Ombre, larve'. Her controlled manner – there's no outburst of grief when she bids her children farewell at the end of the act, for example – catches well the stylised nature of Gluck's expression.
Justin Lavender, as Admeto, is slightly less successful.
He has a generous tenor – fuller and weightier than that of the other tenor, Jonas Degerfelt, who sings gracefully and also with vitality – and he brings to the music a good deal of passion that occasionally threatens to go beyond the scale of the performance as a whole.
The smaller roles are very adequately done.
This recording conveys effectively the intensity and the integrity of Gluck's vision.

Gluck: Alceste

3 CDs

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